Aki Sasamoto

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<channel>
	<title>Aki Sasamoto</title>
	<link>http://cargocollective.com</link>
	<description>Aki Sasamoto</description>
	<pubDate>Mon, 13 May 2013 15:20:32 +0000</pubDate>
	<generator>http://cargocollective.com</generator>
	<language>en</language>
	
		
	<item>
		<title>It's hard to relate to you,</title>
				
		<link>http://cargocollective.com/akisasamoto/It-s-hard-to-relate-to-you</link>

		<comments>http://cargocollective.com/akisasamoto/following/akisasamoto/It-s-hard-to-relate-to-you</comments>

		<pubDate>Mon, 13 May 2013 15:20:32 +0000</pubDate>

		<dc:creator>Aki Sasamoto</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">5607330</guid>

		<description>(2013)

If there be spices in executing one's presence, what would be your mix?  More towards the undeniable physical occupation or the cerebral construction technique.  The daily life may urge us to shift between the two, and i am amazed that the same body, the same person, can balance between different qualities of being.  But there are little openings that invite you to go further in a particular direction.  Follow that path till an extreme end, and you may be poised by the flavor being-off-balance offers you.  Keep pushing towards the end of the line, and you may gain a real sickness.  You become that spicy being yourself.  Really, at what stage does one little characteristic turn into a source of disease?  Really, at what point will you sacrifice the boring balance for the sweet smell of the extreme?  

"It's hard to relate to you," was made as a site-specific series of sculptures.  Sculptures were activated with a performance, and then will exist in this garden for up to one year.

Image Slideshow
&#60;img src="http://payload165.cargocollective.com/1/1/38538/5607330/ItsHardToRelateToYou_2.jpg" width="670" height="1004" width_o="827" height_o="1240" src_o="http://payload165.cargocollective.com/1/1/38538/5607330/ItsHardToRelateToYou_2_o.jpg" data-mid="30246059"  border="0" align="left"/&#62;&#60;img src="http://payload165.cargocollective.com/1/1/38538/5607330/ItsHardToRelateToYou_3.jpg" width="670" height="1005" width_o="826" height_o="1240" src_o="http://payload165.cargocollective.com/1/1/38538/5607330/ItsHardToRelateToYou_3_o.jpg" data-mid="30246081"  border="0" align="left"/&#62;&#60;img src="http://payload165.cargocollective.com/1/1/38538/5607330/ItsHardToRelateToYou_4.jpg" width="670" height="1004" width_o="827" height_o="1240" src_o="http://payload165.cargocollective.com/1/1/38538/5607330/ItsHardToRelateToYou_4_o.jpg" data-mid="30246107"  border="0" align="left"/&#62;&#60;img src="http://payload165.cargocollective.com/1/1/38538/5607330/ItsHardToRelateToYou_5.jpg" width="670" height="1004" width_o="827" height_o="1240" src_o="http://payload165.cargocollective.com/1/1/38538/5607330/ItsHardToRelateToYou_5_o.jpg" data-mid="30246123"  border="0" align="left"/&#62;&#60;img src="http://payload165.cargocollective.com/1/1/38538/5607330/ItsHardToRelateToYou_6.jpg" width="670" height="446" width_o="1240" height_o="827" src_o="http://payload165.cargocollective.com/1/1/38538/5607330/ItsHardToRelateToYou_6_o.jpg" data-mid="30246140"  border="0" align="left"/&#62;&#60;img src="http://payload165.cargocollective.com/1/1/38538/5607330/ItsHardToRelateToYou_7.jpg" width="670" height="446" width_o="1240" height_o="827" src_o="http://payload165.cargocollective.com/1/1/38538/5607330/ItsHardToRelateToYou_7_o.jpg" data-mid="30246152"  border="0" align="left"/&#62;&#60;img src="http://payload165.cargocollective.com/1/1/38538/5607330/ItsHardToRelateToYou_8.jpg" width="670" height="1004" width_o="827" height_o="1240" src_o="http://payload165.cargocollective.com/1/1/38538/5607330/ItsHardToRelateToYou_8_o.jpg" data-mid="30246158"  border="0" align="left"/&#62;{image 9&#60;img src="http://payload165.cargocollective.com/1/1/38538/5607330/ItsHardToRelateToYou_9.jpg" width="670" height="1004" width_o="827" height_o="1240" src_o="http://payload165.cargocollective.com/1/1/38538/5607330/ItsHardToRelateToYou_9_o.jpg" data-mid="30246175"  border="0" align="left"/&#62;

[Photo: eSeL.at]

- Appearance -
May 4 - October 28, 2013
Struktur &#38; Organismus III
in an apricot orchard in Mühldorf, Austria 
*Performance at the opening reception</description>
		
		<excerpt>(2013)  If there be spices in executing one's presence, what would be your mix?  More towards the undeniable physical occupation or the cerebral construction...</excerpt>

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	</item>
		
		
	<item>
		<title>Centripetal Run</title>
				
		<link>http://cargocollective.com/akisasamoto/Centripetal-Run</link>

		<comments>http://cargocollective.com/akisasamoto/following/akisasamoto/Centripetal-Run</comments>

		<pubDate>Sat, 26 Jan 2013 14:16:08 +0000</pubDate>

		<dc:creator>Aki Sasamoto</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">4852275</guid>

		<description>(2012)

"Centripetal Run" was made for a theater space with four collaborators, in response to "Centrifugal March," which had a serious and melancholic tone of the installation/performance piece in a gallery space.  Centripetal force is assigned a role of a metaphorical stand in for how one's belongings partake a quality of their owners/users.  The piece goes through different sections that weighs more on an installation art, dance, music, model demonstration, then finally the performer preaches on the importance of a committed attitude for your underwear choice.  Jumbling music, sculpture, dance, and science, but with 100% commitment to all; This piece is also my reaction for under-commitment for mediums in contemporary art practice.

Image Slideshow
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[Photo: Chocolate Factory]

- Appearance -
November 28-December 1, 2012
Centripetal Run (theater production)
The Chocolate Factory, Long Island City, New York
*This is an evening length theater show, in collaboration with Pau Atela (prologue), Matt Bauder (music), Madeline Best (lighting design), Sam Ekwurtzel (timber sculpture), and Arturo Vidich (performer).

December 16, 2012 - February 24, 2013
Talking In Circles In Talking (solo show)
Soloway, Brooklyn, New York
*Parts of Centripetal Run and Centrifugal March were exhibited in this show.
**Performance on Dec 16, Jan 20 &#38; Feb 3.</description>
		
		<excerpt>(2012)  "Centripetal Run" was made for a theater space with four collaborators, in response to "Centrifugal March," which had a serious and melancholic tone of the...</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

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	<item>
		<title>Centrifugal March</title>
				
		<link>http://cargocollective.com/akisasamoto/Centrifugal-March</link>

		<comments>http://cargocollective.com/akisasamoto/following/akisasamoto/Centrifugal-March</comments>

		<pubDate>Tue, 24 Jan 2012 12:32:42 +0000</pubDate>

		<dc:creator>Aki Sasamoto</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">2668628</guid>

		<description>(2012)

Why do certain objects seem to carry more importance over others?  i am suspecting some exert gravitational force, based on one's memory of the dead.  Imagining my after life as an object, i start to travel along centrifugal force to mock a transformation into an object.  A wooden bead, diamond necklace, green jumpsuit, or poem on a restaurant napkin.

Objects become Humans with its Centripetal Force.
Humans become Objects with its Centrifugal Force.

Image Slideshow 
&#60;img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_18.jpg" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_18_o.jpg" data-mid="13654039"  border="0" align="left"/&#62;&#60;img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_07.jpg" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_07_o.jpg" data-mid="13654032"  border="0" align="left"/&#62;&#60;img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_31.jpg" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_31_o.jpg" data-mid="13654060"  border="0" align="left"/&#62;&#60;img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_08.jpg" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_08_o.jpg" data-mid="13654033"  border="0" align="left"/&#62;&#60;img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_09.jpg" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_09_o.jpg" data-mid="13654035"  border="0" align="left"/&#62;&#60;img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_25.jpg" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_25_o.jpg" data-mid="13654054"  border="0" align="left"/&#62;&#60;img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_29.jpg" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_29_o.jpg" data-mid="13654058"  border="0" align="left"/&#62;&#60;img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_22.jpg" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_22_o.jpg" data-mid="13654047"  border="0" align="left"/&#62;&#60;img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_10.jpg" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_10_o.jpg" data-mid="13654037"  border="0" align="left"/&#62;&#60;img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_32.jpg" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_32_o.jpg" data-mid="13654064"  border="0" align="left"/&#62;&#60;img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_33.jpg" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_33_o.jpg" data-mid="13654068"  border="0" align="left"/&#62;

[Photo: Daisuke Yamashiro]

- Appearance -
January 21-February 19, 2012
Omnilogue: Journey To The West 
Lalit Kala Akademi, New Delhi, India
*Performance with ice blocks on Jan 21 &#38; 22

September 7 - November 5, 2012 
Gwangju Biennial, 
Gwangju, South Korea
*performance on the opening reception
</description>
		
		<excerpt>(2012)  Why do certain objects seem to carry more importance over others?  i am suspecting some exert gravitational force, based on one's memory of the dead. ...</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

		<media:thumbnail url="http://payload18.cargocollective.com/1/1/38538/2668628/prt_1327763235.jpg" />

	</item>
		
		
	<item>
		<title>E_O</title>
				
		<link>http://cargocollective.com/akisasamoto/E_O</link>

		<comments>http://cargocollective.com/akisasamoto/following/akisasamoto/E_O</comments>

		<pubDate>Mon, 26 Dec 2011 19:45:34 +0000</pubDate>

		<dc:creator>Aki Sasamoto</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">2507397</guid>

		<description>(2011)

E_O represents ego without gravity. Using childhood nightmares and self discoveries through boxing routines as starting points, i explore the gaps between belief and perception of my self, and attempts to establish the inherent geometry of eyesight, the enneagram, and muscles.  i think i am Green Giant, but sadly i apparently am not.  

Image Slideshow
&#60;img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_0.jpg" width="670" height="502" width_o="1000" height_o="750" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_0_o.jpg" data-mid="12651549"  border="0" align="left"/&#62;&#60;img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_1.jpg" width="670" height="502" width_o="1000" height_o="750" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_1_o.jpg" data-mid="12651558"  border="0" align="left"/&#62;&#60;img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_2.jpg" width="670" height="893" width_o="750" height_o="1000" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_2_o.jpg" data-mid="12651562"  border="0" align="left"/&#62;&#60;img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_3-jpg.jpg" width="670" height="502" width_o="1000" height_o="750" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_3-jpg_o.jpg" data-mid="12651563"  border="0" align="left"/&#62;&#60;img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_4.JPG" width="670" height="893" width_o="750" height_o="1000" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_4_o.JPG" data-mid="12651564"  border="0" align="left"/&#62;&#60;img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_5.jpg" width="670" height="893" width_o="750" height_o="1000" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_5_o.jpg" data-mid="12651565"  border="0" align="left"/&#62;&#60;img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_6.jpg" width="581" height="972" width_o="581" height_o="972" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_6_o.jpg" data-mid="12651571"  border="0" align="left"/&#62;&#60;img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_7.jpg" width="670" height="893" width_o="750" height_o="1000" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_7_o.jpg" data-mid="12651572"  border="0" align="left"/&#62;&#60;img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_8.jpg" width="670" height="893" width_o="750" height_o="1000" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_8_o.jpg" data-mid="12651575"  border="0" align="left"/&#62;&#60;img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_9.jpg" width="670" height="502" width_o="1000" height_o="750" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_9_o.jpg" data-mid="12651577"  border="0" align="left"/&#62;&#60;img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_10.jpg" width="670" height="502" width_o="1000" height_o="750" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_10_o.jpg" data-mid="12651578"  border="0" align="left"/&#62;&#60;img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_11.jpg" width="670" height="893" width_o="750" height_o="1000" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_11_o.jpg" data-mid="12651579"  border="0" align="left"/&#62;&#60;img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_12.jpg" width="670" height="893" width_o="750" height_o="1000" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_12_o.jpg" data-mid="12651580"  border="0" align="left"/&#62;
[Photo: Take Ninagawa]

- Appearance -
October 13-16, 2011
Frame section in Frieze Art Fair 
Regent's Park, London, UK
*performed twice a day in a solo booth exhibition

September 9 - October 6, 2012 
E_O (solo show)
Take Ninagawa, Tokyo
*performance on Saturdays at 5pm</description>
		
		<excerpt>(2011)  E_O represents ego without gravity. Using childhood nightmares and self discoveries through boxing routines as starting points, i explore the gaps between...</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

		<media:thumbnail url="http://payload10.cargocollective.com/1/1/38538/2507397/prt_1324950458.jpg" />

	</item>
		
		
	<item>
		<title>Beauty Lines</title>
				
		<link>http://cargocollective.com/akisasamoto/Beauty-Lines</link>

		<comments>http://cargocollective.com/akisasamoto/following/akisasamoto/Beauty-Lines</comments>

		<pubDate>Tue, 09 Nov 2010 02:55:18 +0000</pubDate>

		<dc:creator>Aki Sasamoto</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">766855</guid>

		<description>(2010)

Ancient Greek medicine understood the human body through the shapes of body parts and rhythm of the pulses, while ancient Chinese medicine focused on the flow of fluid and feels of the pulses.  One can see distinctly different bodies in one same body.  What constitutes our sense of health, norm, or beauty?  As a part of my big questioning about the condition(ing) of a body, I will explore the relationships between muscles, blood, sweat, and alcohol.  How does aggression fit in the picture of beauty?

The first day i was at the boxing gym, my trainer uttered only one English word.
He said, "Listen to me," then he showed me moves without any help of words.
But i understood.  Or at least i felt confident i will understand faster this way.
Pay attention to the rhythm of his feet, how to throw a punch from the heel and the hip, and all the subtle directions his body attempts to give me.
As the rounds go by, I was using more senses.  
Must exercise the whole 'body' to understand and communicate.

Image Slideshow
&#60;img src="http://payload.cargocollective.com/1/1/38538/766855/BEAUTY_RyanBeltrn.jpg" width="499" height="330" width_o="499" height_o="330" src_o="http://payload.cargocollective.com/1/1/38538/766855/BEAUTY_RyanBeltrn_o.jpg" data-mid="3643546"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/766855/Beauty_C.jpg" width="498" height="328" width_o="498" height_o="328" src_o="http://payload.cargocollective.com/1/1/38538/766855/Beauty_C_o.jpg" data-mid="3643538"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/766855/Beauty_B.jpg" width="500" height="330" width_o="500" height_o="330" src_o="http://payload.cargocollective.com/1/1/38538/766855/Beauty_B_o.jpg" data-mid="3643537"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_A.jpg" width="499" height="329" width_o="499" height_o="329" src_o="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_A_o.jpg" data-mid="3643540"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_B.jpg" width="498" height="330" width_o="498" height_o="330" src_o="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_B_o.jpg" data-mid="3643541"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_C.jpg" width="498" height="330" width_o="498" height_o="330" src_o="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_C_o.jpg" data-mid="3643542"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_D.jpg" width="499" height="330" width_o="499" height_o="330" src_o="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_D_o.jpg" data-mid="3643543"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_E.jpg" width="500" height="330" width_o="500" height_o="330" src_o="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_E_o.jpg" data-mid="3643633"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_F.jpg" width="497" height="329" width_o="497" height_o="329" src_o="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_F_o.jpg" data-mid="3643545"  border="0" align="left"/&#62;[Photo: Ryan Beltrán, Mary Rinebold, Aleksey Mikolaichouk]

- Appearance -
September 10, 2010
100 Years of Performance
Garage Center for Contemporary Culture, Moscow, Russia

September 28 - 29, 2010
Living Pictures &#38; The Prompt 
Transart Festival, Bolzano, Italy 
*with additional support from Foundation for Contemporary Arts</description>
		
		<excerpt>(2010)  Ancient Greek medicine understood the human body through the shapes of body parts and rhythm of the pulses, while ancient Chinese medicine focused on the...</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

		<media:thumbnail url="http://payload.cargocollective.com/1/1/38538/766855/prt_1289293091.jpg" />

	</item>
		
		
	<item>
		<title>Skewed Lies</title>
				
		<link>http://cargocollective.com/akisasamoto/Skewed-Lies</link>

		<comments>http://cargocollective.com/akisasamoto/following/akisasamoto/Skewed-Lies</comments>

		<pubDate>Sun, 20 Jun 2010 13:52:13 +0000</pubDate>

		<dc:creator>Aki Sasamoto</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">473484</guid>

		<description>(2010)

This is a story about mosquitoes and how much I hate them.  
This is a story about coincidences.
This is a story about Comedian, Lies, and Masseuse.
This is a story about petty crimes vs. noble crimes.
This is a story about skewed positions.
This is a story about... Masseuse is a mosquito, the Little Vampire.
This is a story about underground vs. above-ground.
This is a story about 3 deserts: Meringue, Flan, and Cake.

古い旧小学校の建物にあるボイラー室での発表を依頼され、湿り気のある湾曲した地下空間の特徴を生かした製作を試みた。小さなドラキュラのような 蚊の性格を持つ人を中傷しつつ、フランス劇作家ジャン・ジュネの自伝から膨らんだ犯罪論を表現。建物にあった古いパイプや机を改造して壁や天井に突き刺して、実際にそれらのモノから逆さまにぶら下がりながら、身近な交友関係を図解していく。

Image Slideshow
&#60;img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9301.JPG" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9301_o.JPG" data-mid="2702080"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9313.JPG" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9313_o.JPG" data-mid="2702082"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9336.JPG" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9336_o.JPG" data-mid="2702086"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9375.JPG" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9375_o.JPG" data-mid="2702090"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9378.JPG" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9378_o.JPG" data-mid="2702093"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9394.JPG" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9394_o.JPG" data-mid="2702153"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9400.JPG" width="600" height="400" width_o="600" height_o="400" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9400_o.JPG" data-mid="2702096"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9404.JPG" width="600" height="400" width_o="600" height_o="400" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9404_o.JPG" data-mid="2702099"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9412.JPG" width="600" height="400" width_o="600" height_o="400" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9412_o.JPG" data-mid="2702100"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9440.JPG" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9440_o.JPG" data-mid="2702101"  border="0" align="left"/&#62;
Video Documentation (full)


[Photo/Video: Arturo Vidich]

- Appearance -
May 23 - October 18, 2010
Greater New York: 5 Year Review
MoMA PS1, Long Island City, NY
(Room installation throughout the exhibition, with fifteen scheduled performances of Skewed Lies/Central Governor: Collaboration with Saul Melman)

December 2 - 4, 2010
Make a monkey out of clay
as a part of the program, CULTURED
Design District, Miami, FL 
(Room installation in an empty retail space, with an evening performance each night)</description>
		
		<excerpt>(2010)  This is a story about mosquitoes and how much I hate them.   This is a story about coincidences. This is a story about Comedian, Lies, and Masseuse. This is...</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

		<media:thumbnail url="http://payload.cargocollective.com/1/1/38538/473484/prt_P6150035.JPG" />

	</item>
		
		
	<item>
		<title>Strange Attractors</title>
				
		<link>http://cargocollective.com/akisasamoto/Strange-Attractors</link>

		<comments>http://cargocollective.com/akisasamoto/following/akisasamoto/Strange-Attractors</comments>

		<pubDate>Tue, 15 Jun 2010 19:03:40 +0000</pubDate>

		<dc:creator>Aki Sasamoto</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">460381</guid>

		<description>(2010)

A Strange Attractor...

It's a mathematical concept, where a trajectory of a graph seems to be attracted to certain point(s)/line(s)/plane(s) in a seemingly unpredictable manner.

Does that exist in a life one experience?  Can i observe that in my short life?  And can i feel that math through my life?

"Aki Sasamoto’s contribution to 2010, Strange Attractors, consists of the careful arrangement of sculpturally altered found objects and insistent repetitions of performances that alter and add to the feelings of the installation; the objects themselves provide guidance for the artist’s structured improvisation. Sasamoto demonstrates and develops a kaleidoscopic worldview out of deeply personal episodes and a hypothetical mapping of the universe. In an attempt to understand and
feel the mathematical concept of strange attractors in dynamical systems, she jumbles her recent obsession for doughnuts, fortunetellers, hemorrhoids, and things detected in the world." 

Donuts, a video produced by Whitney Museum.

'Strange Attractors' by Aki Sasmaoto, a video interview by New York Times, T Magazine. 

道端で拾って改造したモノ、スチールとプラスチックの彫刻、音声や動画用の機材、身体を綿密な計算に基づいて配置したインスタレーション作品。ビデオカメラが液体プラスチックで固めたコップの彫刻に混じってぶらさがり、観客やパフォーマーの動きを捉える。カメラも、人間も、テーブルにはめ込まれたプロジェクターも、皆動くように設計されている。ローレンツ方程式を中心にストレンジ・アトラクターと呼ばれる数学の概念が、空間構成ないしパフォーマンスのそこかしこに見え隠れする。パフォーマンスでは、占い師、ドーナッツ、痔に関する個人的な体験が、社会的兼数学的講義として語られる。会期中、方程式のグラフにヒントを得て、６と９がつく日に計１２回のパフォーマンスを実施した。　

Image Slideshow
{image 1}things{image 2}{image 3}&#60;img src="http://payload.cargocollective.com/1/1/38538/460381/_MG_8805.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/1/38538/460381/_MG_8805_o.jpg" data-mid="2132257"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/460381/_MG_8807.jpg" width="670" height="478" width_o="2048" height_o="1462" src_o="http://payload.cargocollective.com/1/1/38538/460381/_MG_8807_o.jpg" data-mid="2132258"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/460381/_MG_8810.JPG" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/1/38538/460381/_MG_8810_o.JPG" data-mid="2132781"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/460381/_MG_8804.JPG" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/1/38538/460381/_MG_8804_o.JPG" data-mid="2132804"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/460381/_MG_8817.JPG" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/1/38538/460381/_MG_8817_o.JPG" data-mid="2132813"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/460381/_MG_9033.JPG" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/1/38538/460381/_MG_9033_o.JPG" data-mid="2132897"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/460381/Aki_Whitney.JPG" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/1/38538/460381/Aki_Whitney_o.JPG" data-mid="2132901"  border="0" align="left"/&#62;

Video Documentation (5min excerpt)


[Photo/Video: Arturo Vidich]

- Appearance - 
February 25 - May 30, 2010
Whitney Biennial: 2010
Whitney Museum of American Art.
(Room installation throughout the exhibition, with twelve performances on the selected dates that include the numerals 6 or 9, at 4pm, A.K.A. 16:00)

December 18, 2010 - January 29, 2011
Strange Attractors (solo show)
Take Ninagawa, Tokyo.
*Performance scheduled on December 19, 26 and January 9, 16, 29 from 16oo hrs

</description>
		
		<excerpt>(2010)  A Strange Attractor...  It's a mathematical concept, where a trajectory of a graph seems to be attracted to certain point(s)/line(s)/plane(s) in a seemingly...</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

		<media:thumbnail url="http://payload.cargocollective.com/1/1/38538/460381/prt__MG_8805.jpg" />

	</item>
		
		
	<item>
		<title>AKI SASAMOTO</title>
				
		<link>http://cargocollective.com/akisasamoto/AKI-SASAMOTO</link>

		<comments>http://cargocollective.com/akisasamoto/following/akisasamoto/AKI-SASAMOTO</comments>

		<pubDate>Sat, 12 Jun 2010 16:26:46 +0000</pubDate>

		<dc:creator>Aki Sasamoto</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">460274</guid>

		<description>&#60;img src="http://payload.cargocollective.com/1/1/38538/460274/IMG_0484b.jpg" width="670" height="446" width_o="709" height_o="472" src_o="http://payload.cargocollective.com/1/1/38538/460274/IMG_0484b_o.jpg" data-mid="2067237"  border="0" align="left"/&#62;

Aki Sasamoto is a New York-based, Japanese artist, who works in performance, sculpture, dance, and whatever more medium that takes to get her ideas across.  Her works have been shown both in performing art and visual art venues in New York and abroad.  Besides her own works, she has collaborated with artists in visual arts, music, and dance, and she plays multiple roles of dancer, sculptor, or director.  Sasamoto co-founded Culture Push, a non-profit arts organization, in which diverse professionals meet through artist-led projects and cross-disciplinary symposia.  

Sasamoto's performance/installation works revolve around everyday gestures on nothing and everything.  Her installations are careful arrangements of sculpturally altered found objects, and the decisive gestures in her improvisational performances create feedback, responding to sound, objects, and moving bodies.  The constructed stories seem personal at first, yet oddly open to variant degrees of access, relation, and reflection.

[Photo: Paul O'Reilly]</description>
		
		<excerpt>  Aki Sasamoto is a New York-based, Japanese artist, who works in performance, sculpture, dance, and whatever more medium that takes to get her ideas across.  Her...</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

		<media:thumbnail url="http://payload.cargocollective.com/1/1/38538/460274/prt_IMG_0484a.jpg" />

	</item>
		
		
	<item>
		<title>Works from 2004-2005</title>
				
		<link>http://cargocollective.com/akisasamoto/Works-from-2004-2005</link>

		<comments>http://cargocollective.com/akisasamoto/following/akisasamoto/Works-from-2004-2005</comments>

		<pubDate>Sat, 12 Jun 2010 16:22:55 +0000</pubDate>

		<dc:creator>Aki Sasamoto</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">460457</guid>

		<description>DRAWN
(2004 - 2005)

Collaborative work created by lower lights collective: Matt Bauder, Kate Ten Eyck, Aki Sasamoto, Lily Skove, Dan St. Clair, Arturo Vidich

A long migration; three performers get tangled up in piles of old wooden furniture in a dark basement. The performers and the furniture are interchangeable, taking on the qualities of the other, animating and being animated. Two sound artists use contact microphones to amplify sewing thread woven throughout the room like cobwebs; the performers rub the thread and produce wood-like groans. 

ニューヨーク市の初印象は、通りに古くなった家具がよく捨てられていることだった。前世紀に日本でそうしていたように、捨てられた粗大ゴミを家に持って帰って再利用することが多い。そうした暗黙の都市の習慣に注目し、友人達と何十もの家具を集めた。それらを絹糸で地下室の壁や天井に繋いで、コンタクト・マイクと結んで、空間を家具の琴にした。ダンサーの即興と、実験音楽家の即興が同時進行で繰り広げられ、最終的には部屋の中心にあった家具の山が、奥の吹き抜けまで移動して上階まで積み上げられる。
この作品は、ロウアー・ライツ・コレクティブによる舞踊家、彫刻家、音楽家の共同製作として発表した。コレクティブは、他２人の振付師と共に創始して、メンバーを増やしながら２００４年から３年間活動したグループで、ソロ作品を同じ空間で同時に行うという実験を繰り返した。　

&#60;img src="http://payload.cargocollective.com/1/1/38538/460457/12_Aki_Sasamoto.jpg" width="670" height="435" width_o="1240" height_o="806" src_o="http://payload.cargocollective.com/1/1/38538/460457/12_Aki_Sasamoto_o.jpg" data-mid="12651450"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/460457/19_AkiSASAMOTO.jpg" width="670" height="448" width_o="1240" height_o="830" src_o="http://payload.cargocollective.com/1/1/38538/460457/19_AkiSASAMOTO_o.jpg" data-mid="12651469"  border="0" align="left"/&#62;
[Photo: TJ Hellmuth]

- Appearance - 
December, 2004
Fresh Meat Festival
The Chocolate Factory Theater, Long Island City, NY

January, 2005
Movement Research Festival
Judson Memorial Church, NYC

November, 2005
DRAWN (theater production)
The Chocolate Factory Theater, Long Island City, NY




Colossus
(2004)

Collaboration with Jeffrey Schiff

In Colossus, a thimble full of water is delivered from inside the boots to distant electronic hot plates. While water evaporates, the deliverer improvise in speech about various thoughts on extravagant food.

&#60;img src="http://payload.cargocollective.com/1/1/38538/460457/Sasamoto_Aki05.jpg" width="576" height="409" width_o="576" height_o="409" src_o="http://payload.cargocollective.com/1/1/38538/460457/Sasamoto_Aki05_o.jpg" data-mid="2067156"  border="0" align="left"/&#62;
[Photo: Jeffrey Schiff]

- Appearance -
June, 2006
Water Project
Exit Art, NYC  




Everything Chidambaram - Praying Project
(2005)

Collaboration with Jeffrey Schiff

speaking freely as i wash Soap Sculpture by Jeffrey Schiff

In Everything Chidambaram-Praying Project, the prayer continues washing with the large block of soap sculpture over hours. The monotonous movement of washing is in contrast with a improvised speech whose contexts jump freely to many directions.

&#60;img src="http://payload.cargocollective.com/1/1/38538/460457/Praying Project_1.jpg" width="533" height="355" width_o="533" height_o="355" src_o="http://payload.cargocollective.com/1/1/38538/460457/Praying Project_1_o.jpg" data-mid="2067184"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/460457/Praying Project_2.jpg" width="533" height="355" width_o="533" height_o="355" src_o="http://payload.cargocollective.com/1/1/38538/460457/Praying Project_2_o.jpg" data-mid="2067188"  border="0" align="left"/&#62;[Photo: Jeffrey Schiff]

- Appearance -
April 15 - 17, 2005
Praying Project
Exit Art, NYC

July 5 - October 5, 2008
Freeway Balconies (group exhibition)
Deutsche Guggenheim, Berlin, Germany
(Video documentation of the performance in 2005)</description>
		
		<excerpt>DRAWN (2004 - 2005)  Collaborative work created by lower lights collective: Matt Bauder, Kate Ten Eyck, Aki Sasamoto, Lily Skove, Dan St. Clair, Arturo Vidich  A...</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

		<media:thumbnail url="http://payload.cargocollective.com/1/1/38538/460457/prt_Praying Project_2.jpg" />

	</item>
		
		
	<item>
		<title>cooking show</title>
				
		<link>http://cargocollective.com/akisasamoto/cooking-show</link>

		<comments>http://cargocollective.com/akisasamoto/following/akisasamoto/cooking-show</comments>

		<pubDate>Sat, 12 Jun 2010 16:11:13 +0000</pubDate>

		<dc:creator>Aki Sasamoto</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">460440</guid>

		<description>(2005)

cooking show is a performance work about the bizarre fragmentation of the forms of cooking shows and cooking books, realized in a performance.

To boil down the essence of cooking procedures, cooking shows and cook books change the order of things, zoom in and out of details, and insert refreshing information here and there. Translating proximity and reordering of procedures back into the live, my cooking show results in further isolation and distortion of the cooking procedures.
The Long Utensils were made to be drawn out of the shaft way towards the basement, to cook up ingredients right in front of the audience members, and to be hung from the ceiling at the end. The impossibility of the long knife cutting a potato, or of the long fork reaching to cook with the flying pan up by the ceiling, is comical and recalls for sensation of such a mandane yet intricate act as handling a knife at a kitchen.

cooking show was performed in the context of cram, an evening-length show by Lower Lights Collective at Chocolate Factory Theater, in November 2005. In cram, each member of Lower Lights Collective brought her/his own independent work, and overlapped it in the same space and time. The collage of individually developed pieces resulted in a rich composition. 

料理番組のカメラワークや、料理本の解説の奇妙な段取りを、彫刻的な視点で誇張した。モノとモノの境界線を引いたり、パフォーマンスの動きを断片化することで料理の行程を要約した。又、カメラの角度やズームを、観客との空間構成や距離に置き換えた。長い包丁やおたまを駆使して、天井から垂直にぶら下がるフライパンでスパゲッティ・ポテトソースを調理する、というダンス作品。
このソロ・ダンスは、５つのソロ作品の同時進行を試みたロウアー・ライツ・コレクティブの舞台の一環として発表した。このコレクティブは、他２人の振付師と共に創始して、メンバーを増やしながら２００４年から３年間活動したグループで、ソロ作品を同じ空間で同時に行うという実験を繰り返した。

Image Slideshow
&#60;img src="http://payload.cargocollective.com/1/1/38538/460440/sasamoto_a_01.jpg" width="670" height="444" width_o="1024" height_o="680" src_o="http://payload.cargocollective.com/1/1/38538/460440/sasamoto_a_01_o.jpg" data-mid="2225757"  border="0" align="left"/&#62;things&#60;img src="http://payload.cargocollective.com/1/1/38538/460440/Sasamoto_Aki02.preview.jpg" width="640" height="479" width_o="640" height_o="479" src_o="http://payload.cargocollective.com/1/1/38538/460440/Sasamoto_Aki02.preview_o.jpg" data-mid="2067106"  border="0" align="left"/&#62;&#60;img src="http://payload.cargocollective.com/1/1/38538/460440/03_Aki_Sasamoto.preview.jpg" width="640" height="479" width_o="640" height_o="479" src_o="http://payload.cargocollective.com/1/1/38538/460440/03_Aki_Sasamoto.preview_o.jpg" data-mid="2067107"  border="0" align="left"/&#62;[Photo: TJ Hellmuth]

- Appearance -
December 2005
DRAWN (theater production)
the Chocolate Factory Theater, Long Island City, NY
(cooking show was made during and for an artist residency program with a weekend of evening length theater program)</description>
		
		<excerpt>(2005)  cooking show is a performance work about the bizarre fragmentation of the forms of cooking shows and cooking books, realized in a performance.  To boil down...</excerpt>

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